The Oxford Handbook of Cinematic Listening

Contents

• The Possibilities of Cinematic Listening: An Introduction
• Carlo Cenciarelli
• PART I: Genealogies and Beginnings
• 1. Deeds of Music in Bourgeois Opera (What the Listeners Sees...)
• Peter Franklin
• 2. Hearing the Shadows at the Chat Noir's Pre-cinematic Theatre
• Emilio Sala
• 3. The Courtships of Ada and Len: Mediated Musicals and Vocal Caricature Before the Cinema
• Jacob Smith
• 4. The Trickality of Listening in Early Musical Trick Films
• Julie Brown
• 5. Cinematic Listening and the Early Talkie
• Jim Buhler
• PART II: Locations and Relocations
• 6. Historical Sound-Film Presentation and the Closed-Curtain Roadshow Overture
• Ben Winters
• 7. Tasteful Networks of Attention: Language, Listening, Meaning, and Art House Exhibition
• Jocelyn Szczepaniak-Gillece
• 8. The Atmosphere Was Entirely Good Humoured: The Cinema as a Venue for Live Music in Britain in the 1950s and 1960s
• Simon Frith
• 9. Out of the Frame: Live-Score Film Screenings and the Cinematic Experience
• Jeremy Barham
• 10. Leveraging a Long and Tuneful History: Perspectival Manipulation, Surround Sound, and Dolby Atmos
• Meredith C. Ward
• PART III: Representations and Re-presentations
• 11. Making Sense of Noise and Silence in La Captive
• Richard Dyer
• 12. Hearing Hearing? Reflections on the Kubrickian Soundtrack
• David Code
• 13. Countercultural Listening in Malick's Badlands (1973)
• Julie Hubbert
• 14. Music Lovers. Listening in (and to) Composer Biopics
• Guido Heldt
• 15. Hi-Yo, Rossini: Hearing Pre-existing music as Post-existing Music
• Jonathan Godsall
• 16. You Sorta Listen with Your Eyes: How Audiences Talk about Film Music
• Martin Barker
• PART IV: The Listening Body
• 17. Fist to Face: Corporeal Listening and the Cinematic Punch
• Lisa Coulthard
• 18. The Erotics of Cinematic Listening
• Danijela Kulezic-Wilson
• 19. Sensing Time and Space through the Soundtracks of Interstellar and Arrival
• John Richardson, Anna-Elena Paakkola, Sanna Qvick
• 20. Hearing-Feeling-Becoming: Cinema Surveillance
• Miguel Mera
• 21. Sonic Elongation and Sonic Aporia: Two Modes of Disrupted Listening in Film
• Holly Rogers
• 22. The Trailer Ear: Constructions of Loudness in Cinematic Previews
• James Deaville
• PART V: Listening Again
• 23. Pop Music, Processing Fluency, and Pleasure: Film Songs as Both Hype and Memento
• Jeff Smith
• 24. A Movie for Speakers: Queen's Flash Gordon and the Integrated Soundtrack Album
• Paul N. Reinsch
• 25. If You Know Arabic, Indian Songs Are Easy For You: Hindi Film Songs in Tamale, Northern Ghana
• Katie Young
• 26. Hearing and Teaching Soundtracks as a Mother and a Daughter: A Personal, Feminist, Pedagogical Approach to Flux
• Elsie Walker
• 27. Hearing Film Music Topics outside the Movie Theatre: Listening Cinematically to Pastorals
• Janet Bourne
• 28. Hearing Secondary Explosions: The Naudet Brothers' 9/11 and Audiovisual (A)synchronization in Twenty-First-Century Media
• Randolph Jordan
• PART VI: Between Media
• 29. Evolving Storylines and Patterns of Listening: The Case of Invasion at the Dawn of the Binge Age (2005-06) Robynn Stilwell
• 30. Projections of Image on Sound: Reassessing the Relation between Music Video and Cinema
• Mathias Bonde Korsgaard
• 31. Listen Again: Music Video's Cinematic Soundscapes
• Laurel Westrup
• 32. Summon the Cinematic? Aural Mediation and Filmic Immersion in the Case of Remote Taipei
• Ya-Mong Feng
• 33. iPod Listening as an I-voice: Cinema, Personal Stereos, and a Fantasy of Communication
• Carlo Cenciarelli
• 34. Fantasias on a Theme by Walt Disney: Playful Listening and Video Games
• Tim Summers
• 35. Old(er) Media and New Musical Affordances in Virtual Reality Experiences
• Michiel Kamp